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Jennifer Ricchiazzi, Csa
JENNIFER RICCHIAZZI, CSA www.jenniferricchiazzi.com Selected Film & Television Credits FUTRA DAYS (Pre-Production/Currently Casting) Producer: Ryan David, Orian Williams, David Zonshine. Director/Writer: Ryan David. SHOOTING HEROIN (Post-Production) Producer: Mark Joseph. Director/Writer: Spencer Folmar. Starring: Alan Powell, Cathy Moriarty, Sherilyn Fenn, Nicholas Turturro THE UNSPOKEN (Pre-Production) Winterland Pictures. Producers: Lionel Hicks, Rebecca Tranter. Director/Writer: Andrew Hunt FIGHTING CHANCE (Pre-Production) Producers: Scott Rosenfelt, Ron Winston. Director: Mikael Salomon FALL OF EDEN (Pre-Production) Producer: Mark G Mathis. Director: Susan Dynner. Attached: Dylan McDermott, Brianna Hildebrand. BLINDED BY ED (Pre-Production) Producer: Kristy Lash. Director/Writer: Chris Fetchko. Attached: Katrina Bowden. REAGAN (Pre-Production) Independent. Producer: Mark Joseph; Executive Producer: Dawn Krantz. Director: John G. Avildsen. Attached: Jon Voight and Dennis Quaid. HAUNTING OF THE MARY CELESTE Vertical Entertainment. Producers: Norman Dreyfuss, Brian Dreyfuss, Justin Ambrosino. Writer: David Ross; Executive Producers: Eric Brodeur, Jerome Oliver. Director: Shana Betz. Starring: Emily Swallow. SOLVE Mobile Series. Vertical Networks; Snapchat. THE STOLEN Independent/Cork Films Ltd. Producer/Writer: Emily Corcoran; Executive Producer: Julia Palau. Director/Co-Writer: Niall Johnson. Starring: Alice Eve, Jack Davenport. THE CLAPPER (Tribeca Film Festival 2017) Independent. Producer: Robin Schorr. Director: Dito Montiel. Starring: -
Cast Bios Lea Thompson
CAST BIOS LEA THOMPSON (Cathy Davis) – Lea Thompson is best known for her role in the Steven Spielberg and Robert Zemeckis “Back to the Future” feature film franchise as well as the title character in the now-syndicated TV comedy “Caroline in the City,” for which she won TV Guide and People’s Choice Awards. A native of Minnesota, Thompson began her career as a professional ballet dancer and performed in more than 45 ballets with the Minnesota Dance Theatre. After apprenticing with the Pennsylvania Ballet, she moved to New York at the age of 20 to pursue an acting career. She was first featured in a supporting role in the motion picture “Jaws 3-D,” which was followed by a starring role opposite Tom Cruise in “All the Right Moves.” Additional film credits include “Article 99,” “Casual Sex?,” John Hughes’ “Some Kind of Wonderful” and “Dennis the Menace,” “Red Dawn,” “The Wizard of Loneliness,” “Howard the Duck,” “The Wild Life,” “Space Camp,” “The Beverly Hillbillies,” “The Little Rascals,” “The Unknown Cyclist,” and “Fish Don’t Blink.” Thompson’s television credits include a guest-starring role on “Law & Order: SVU,” the series “For the People,” the miniseries “A Will of Their Own,” and the original movies “The Right to Remain Silent,” “The Unspoken Truth,” “The Substitute Wife,” “Montana,” “Stolen Babies” and “Nightbreaker,” for which she received a CableACE nomination. On stage, Thompson recently finished both the National Tour and the Broadway Studio 54 production of Sam Mendes’ revival of “Cabaret” as well as a Los Angeles production of “The Vagina Monologues.” Thompson resides in Los Angeles with her husband, film director Howard Deutch, their daughters, Zoey and Madelyn, and a menagerie of dogs, a cat, a parrot, lots of fish, and several horses. -
The Top 101 Inspirational Movies –
The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan Published by Self Improvement Online, Inc. http://www.SelfGrowth.com 20 Arie Drive, Marlboro, NJ 07746 ©Copyright by David Riklan Manufactured in the United States No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Limit of Liability / Disclaimer of Warranty: While the authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents and specifically disclaim any implied warranties. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. The author shall not be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan TABLE OF CONTENTS Introduction 6 Spiritual Cinema 8 About SelfGrowth.com 10 Newer Inspirational Movies 11 Ranking Movie Title # 1 It’s a Wonderful Life 13 # 2 Forrest Gump 16 # 3 Field of Dreams 19 # 4 Rudy 22 # 5 Rocky 24 # 6 Chariots of -
John Hughes' Family Films and Seriality
Article Title ‘Give people what they expect’: John Hughes’ Family Films and Seriality in 1990s Hollywood Author Details: Dr Holly Chard [email protected] Biography: Holly Chard is Lecturer in Contemporary Screen Media at the University of Brighton. Her research focuses on the U.S. media industries in the 1980s and 1990s. Her recent and forthcoming publications include: a chapter on Macaulay Culkin’s career as a child star, a monograph focusing on the work of John Hughes and a co- authored journal article on Hulk Hogan’s family films. Acknowledgements: The author would like to thank Frank Krutnik and Kathleen Loock for their invaluable feedback on this article and Daniel Chard for assistance with proofreading. 1 ‘Give people what they expect’: John Hughes’ Family Films and Seriality in 1990s Hollywood Keywords: seriality, Hollywood, comedy, family film Abstract: This article explores serial production strategies and textual seriality in Hollywood cinema during the late 1980s and early 1990s. Focusing on John Hughes’ ‘high concept’ family comedies, it examines how Hughes exploited the commercial opportunities offered by serial approaches to both production and film narrative. First, I consider why Hughes’ production set-up enabled him to standardize his movies and respond quickly to audience demand. My analysis then explores how the Home Alone films (1990-1997), Dennis the Menace (1993) and Baby’s Day Out (1994) balanced demands for textual repetition and novelty. Article: Described by the New York Times as ‘the most prolific independent filmmaker in Hollywood history’, John Hughes created and oversaw a vast number of movies in the 1980s and 1990s.1 In a period of roughly fourteen years, from the release of National Lampoon’s Vacation (Ramis, 1983) to the release of Home Alone 3 (Gosnell, 1997), Hughes received screenwriting credits on twenty-seven screenplays, of which he produced eighteen, directed eight and executive produced two. -
2019 ANNUAL REPORT 2 New Yorkers for Children / Annual Report 2019 TABLE of Contents
2019 ANNUAL REPORT 2 New Yorkers For Children / Annual Report 2019 TABLE OF Contents Executive Director’s Note ............................................ 2 Who We Are .................................................................. 4 What We Do .................................................................. 5 Signature Programming ............................................... 6 2019 Graduates ...........................................................10 Peer Mentoring Spotlight ........................................ 12 2019 Financials ............................................................14 Corporate Partner Spotlight ......................................15 Staff ..............................................................................15 2019 Donors ................................................................16 New Yorkers For Children / Annual Report 2019 1 EXECUTIVE DIRECTOR’S Note Dear NYFC Community, The child welfare landscape in New York City is changing. More and more, people are recognizing the importance of giving back to the approximately 8,000 youth currently in foster care, and the nearly 650 youth who age out each year. Since 1996, New Yorkers For Children (NYFC) has been at the forefront of this work; but it would not be possible without our partners in the field. Looking back on 2019, NYFC has truly been strengthened by the resiliency and hard work of the youth we serve, as well as by the dedication and generosity of our steadfast partners. This year’s theme – BETTER TOGETHER – describes what New Yorkers have always intrinsically known: that we are at our best when The Administration for we lift each other up – not only as individuals or as a community, but as a city Children’s Services (ACS) and a system. is deeply grateful to our partners at NYFC for NYFC has worked for nearly 25 years to enroll foster youth in college, support helping to administer them through graduation, and help them gain the skills needed to enter the critical programming for youth and families in the workforce. -
Coming-Of-Age Film in the Age of Activism
Coming-of-Age Film in the Age of Activism Agency and Intersectionality in Moonlight, Lady Bird, and Call Me By Your Name 29 – 06 – 2018 Supervisor: Anne Salden dr. M.A.M.B. (Marie) Lous Baronian [email protected] Second Reader: student number: 11927364 dr. A.M. (Abe) Geil Master Media Studies (Film Studies) University of Amsterdam Acknowledgements First and foremost, I would like to thank Marie Baronian for her first-rate supervision and constant support. Throughout this process she inspired and encouraged me, which is why she plays an important part in the completion of my thesis. I would also like to thank Veerle Spronck and Rosa Wevers, who proved that they are not only the best friends, but also the best academic proof-readers I could ever wish for. Lastly, I would like to express my gratitude towards my classmate and dear friend Moon van den Broek, who was always there for me when I needed advice (or just a hug) during these months, even though she had her own thesis to write too. Abstract The journey of ‘coming of age’ has been an inspiring human process for writers and filmmakers for centuries long, as its narrative format demonstrates great possibilities for both pedagogy and entertainment. The transformation from the origins of the genre, the German Bildungsroman, to classic coming-of-age cinema in the 1950s and 1980s in America saw few representational changes. Classic coming-of-age films relied heavily on the traditional Bildungsroman and its restrictive cultural norms of representation. However, in the present Age of Activism recent coming-of-age films seem to break with this tendency and broaden the portrayal of identity formation by incorporating diversity in its representations. -
January 2020
January 2020 6:10 PM ET/3:10 PM PT 3:30 PM ET/12:30 PM PT 3:05 PM ET/12:05 PM PT 5:10 PM CT/4:10 PM MT 2:30 PM CT/1:30 PM MT 2:05 PM CT/1:05 PM MT The Trailer Show Three Wishes Leaves of Grass 6:50 PM ET/3:50 PM PT 5:30 PM ET/2:30 PM PT 4:55 PM ET/1:55 PM PT 5:50 PM CT/4:50 PM MT 4:30 PM CT/3:30 PM MT 3:55 PM CT/2:55 PM MT The Karate Kid Feast of Love The Burning Bed 9:00 PM ET/6:00 PM PT 7:20 PM ET/4:20 PM PT 6:45 PM ET/3:45 PM PT 8:00 PM CT/7:00 PM MT 6:20 PM CT/5:20 PM MT 5:45 PM CT/4:45 PM MT The Karate Kid: Part II Half Past Dead Rain Man WEDNESDAY, JANUARY 1 10:55 PM ET/7:55 PM PT 9:00 PM ET/6:00 PM PT 9:00 PM ET/6:00 PM PT 12:30 AM ET/9:30 PM PT 9:55 PM CT/8:55 PM MT 8:00 PM CT/7:00 PM MT 8:00 PM CT/7:00 PM MT 11:30 PM CT/10:30 PM MT Airplane II: The Sequel The Karate Kid III Convoy The Professional 10:55 PM ET/7:55 PM PT 10:55 PM ET/7:55 PM PT 2:00 AM ET/11:00 PM PT 9:55 PM CT/8:55 PM MT 9:55 PM CT/8:55 PM MT 1:00 AM CT/12:00 AM MT THURSDAY, JANUARY 2 12:50 AM ET/9:50 PM PT Assassination Primal Fear The Tuxedo 11:50 PM CT/10:50 PM MT 3:40 AM ET/12:40 AM PT 2:40 AM CT/1:40 AM MT Colors FRIDAY, JANUARY 3 SATURDAY, JANUARY 4 2:55 AM ET/11:55 PM PT 12:25 AM ET/9:25 PM PT 1:10 AM ET/10:10 PM PT Showgirls 1:55 AM CT/12:55 AM MT 11:25 PM CT/10:25 PM MT 12:10 AM CT/11:10 PM MT 6:00 AM ET/3:00 AM PT 5:00 AM CT/4:00 AM MT Assassination Half Past Dead The Professional 4:25 AM ET/1:25 AM PT 2:05 AM ET/11:05 PM PT 3:05 AM ET/12:05 AM PT The Doors: Mr. -
Sundance Institute Presents Institute Sundance U.S
1 Check website or mobile app for full description and content information. description app for full Check website or mobile #sundance • sundance.org/festival sundance.org/festival Sundance Institute Presents Institute Sundance The U.S. Dramatic Competition Films As You Are The Birth of a Nation U.S. Dramatic Competition Dramatic U.S. Many of these films have not yet been rated by the Motion Picture Association of America. Read the full descriptions online and choose responsibly. Films are generally followed by a Q&A with the director and selected members of the cast and crew. All films are shown in 35mm, DCP, or HDCAM. Special thanks to Dolby Laboratories, Inc., for its support of our U.S.A., 2016, 110 min., color U.S.A., 2016, 117 min., color digital cinema projection. As You Are is a telling and retelling of a Set against the antebellum South, this story relationship between three teenagers as it follows Nat Turner, a literate slave and traces the course of their friendship through preacher whose financially strained owner, PROGRAMMERS a construction of disparate memories Samuel Turner, accepts an offer to use prompted by a police investigation. Nat’s preaching to subdue unruly slaves. Director, Associate Programmers Sundance Film Festival Lauren Cioffi, Adam Montgomery, After witnessing countless atrocities against 2 John Cooper Harry Vaughn fellow slaves, Nat devises a plan to lead his DIRECTOR: Miles Joris-Peyrafitte people to freedom. Director of Programming Shorts Programmers SCREENWRITERS: Miles Joris-Peyrafitte, Trevor Groth Dilcia Barrera, Emily Doe, Madison Harrison Ernesto Foronda, Jon Korn, PRINCIPAL CAST: Owen Campbell, DIRECTOR/SCREENWRITER: Nate Parker Senior Programmers Katie Metcalfe, Lisa Ogdie, Charlie Heaton, Amandla Stenberg, PRINCIPAL CAST: Nate Parker, David Courier, Shari Frilot, Adam Piron, Mike Plante, Kim Yutani, John Scurti, Scott Cohen, Armie Hammer, Aja Naomi King, Caroline Libresco, John Nein, Landon Zakheim Mary Stuart Masterson Jackie Earle Haley, Gabrielle Union, Mike Plante, Charlie Reff, Kim Yutani Mark Boone Jr. -
CFP: Gender in the Golden 80S (Film & History Conference 6/1/14; 10/29/14)
H-Film CFP: Gender in the Golden 80s (Film & History conference 6/1/14; 10/29/14) Discussion published by Laura M. D'Amore on Monday, April 14, 2014 The 1980s is its own “golden age” of film when considering the idea/ls of gender contained within its borders. The era indulged representations of high-testosterone masculinity (such as Arnold Schwarzenegger, Sylvester Stallone, and Bruce Willis) and vulnerable femininity (such as Molly Ringwald and Ally Sheedy). And, while films of the decade were also capable of imagining men who were strong and sensitive (like Eric Stoltz in Some Kind of Wonderful, Rob Lowe in About Last Night, and Judd Nelson in The Breakfast Club), there were far fewer roles for women that broke from stereotypically feminized characterizations (like Linda Hamilton inTerminator , Lea Thompson in Back to the Future, and Demi Moore in St. Elmo’s Fire). What can an examination of gender roles in the films of the 1980s tell us about a decade that was fraught with a crisis of identity, simultaneously proud and insecure The( Outsiders, Dirty Dancing, Less Than Zero), strong and vulnerable (War Games, Red Dawn) real and imagined (Robocop, Predator)? How might we interrogate gender in American films of the 1980s, in order to better understand the ironies and anxieties contained within them? Possible paper topics include, but are not limited to the following topics as embodied in 1980s films: Representations of masculinity and femininity in film and television Character/izations that disrupt gender norms The relationship between gender and culture, i.e. politics, economy, the Cold War, post- industrialization Gendered tensions between characters, actors, filmmakers, etc. -
275. – Part One
275. – PART ONE 275. Clifford (1994) Okay, here’s the deal: I don’t know you, you don’t know me, but if you are anywhere near a television right now I need you to stop whatever it is that you’re doing and go watch “Clifford” on HBO Max. This is another film that has a 10% score on Rotten Tomatoes which just leads me to believe that all of the critics who were popular in the nineties didn’t have a single shred of humor in any of their non-existent funny bones. I loved this movie when I was seven, and I love it even more when I’m thirty-three. It’s genius. Martin Short (who at the time was forty-four) plays a ten-year-old hyperactive nightmare child from hell. I mean it, this kid might actually be the devil. He is straight up evil, conniving, manipulative and all-told probably causes no less than ten million dollars-worth of property damage. And, again, the plot is so simple – he just wants to go to Dinosaur World. There are so many comedy films with such complicated plots and motivations for their characters, but the simplistic genius of “Clifford” is just this – all this kid wants on the entire planet is to go to Dinosaur World. That’s it. The movie starts with him and his parents on an plane to Hawaii for a business trip, and Clifford knows that Dinosaur Land is in Los Angeles, therefore he causes so much of a ruckus that the plane has to make an emergency landing. -
'STRAIGHT from the HEART' Cast Bios TERI POLO
‘STRAIGHT FROM THE HEART’ Cast Bios TERI POLO (Jordan Donovan) – Rising star Teri Polo starred in one of the top-rated theatrical films of 2000 “Meet the Parents,” playing the role of Pamela Byrnes opposite Ben Stiller. Due to the success of the original, Ms. Polo will be back in the sequel “Meet the Fockers,” playing Pamela Byrnes Focker. Other notable films Ms. Polo has recently starred in include “Domestic Disturbance” with John Travolta and “Second String” with Jon Voight. Ms. Polo has had multiple notable guest television appearances throughout the 1990s in hit comedies and dramas, including “Sports Night,” “Frasier,” “Felicity,” “Brimstone,” “Northern Exposure” and “Tales from the Crypt,” to name a few. Theatrical films include “Golden Gate,” “The House of Spirits,” “The Arrival,” “House of Frankenstein 1997,” “Quick,” “Aspen Extreme” and “The Phantom of the Opera.” TV films include Danielle Steele’s “Full Circle,” “The Van Helsing Chronicles,” “A Father for Brittany,” “Texarkana” and “The Marriage Fool.” But it is the sweeping popularity of the comedy “Meet the Parents” that launched Ms. Polo’s career into another strata. Upcoming projects for Ms. Polo in 2003 include “Unsaid” alongside Andy Garcia and “Dissolution” with Aidan Quinn. # # # HALLMARK CHANNEL/ “Straight From The Heart” Cast Bios – Page 2 ANDREW MCCARTHY (Tyler Ross) – A perpetually youthful actor who made his debut in “Class” (1983) and became associated (briefly) with the so-called “Brat Pack” of that decade, Mr. McCarthy’s vehicle to stardom came with the theatrical motion picture “St. Elmo’s Fire,” followed by “Heaven Help Us” (both 1985). Co-starring with Molly Ringwald as the unattainable heartthrob in “Pretty in Pink,” Andrew McCarthy’s popularity went to cult-like status. -
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